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It is unlikely to have been painted for Lewis, whose taste was for things genealogical and antiquarian rather than for landscape.

His artistic interests are epitomised by the jobs he gave, or tried to give, Constable: his own portrait (repeated several times), Mary Freer's portrait, a of Mary Freer's eye for a shirt-pin, a nine-foot high image of his Norman ancestor ‘Humphri de Grousewolde’ for the stairwell at Malvern Hall, and a sign for The Mermaid and Greswolde Arms Inn. (Arts Council 1949) was confirmed in 1978 by Ian Fleming-Williams and (on the spot) by D.

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1 of the Hall made on the first visit (Fondazione Horne, Florence, Collobi No.54; tg 1976 No.89) indicates that he ‘Left Town for Malvern - Saturday July 15 1809’, while the inscription on No.5 suggests that he was still there on 1 August.

The main purpose of this first visit was probably to paint the portrait of Lewis' thirteen-year-old ward, Mary Freer (dated 1809, Yale Center for British Art, h.68) but we know that he also painted a picture of the Hall on or following the visit: when trying to persuade Constable to return to the place in 1819, Lewis wrote ‘Malverne is going on, & is much improved inside & out, & would make a much better figure in than when you painted it last’ (JCC IV, p.64).

The sun is sinking below the trees to the left, which cast long shadows across the lawn at the back of the house. Many years later Constable wrote that the cawing of a rook was a ‘voice which instantaneously placed my youth before me’. 1809 × apparently in the autograph of the painter’. Old Masters 1878(61); Agnew's 1910(66); Tmee Eeumen Engelsche Kunst, Stedelijk Museum, Amsterdam 1936(17); Tate Gallery 1937 (p.12, No.7); La Peinture Anglaise, Louvre, Paris 1938(15); Chicago, New York and Toronto 1946–7(8); Richard Wilson and his Circle, City Museum and Art Gallery, Birmingham 1948–9(151) and Tate Gallery 1949(148); Venice 1950(1); Dvě Stolctí Britiského Malířství, Národní Galerie, Prague and Slovenská Národná Galéria, Bratislava, 1969 (not in catalogue); A Decade of English Naturalism 1810–1820, Castle Museum, Norwich 1969 and Victoria and Albert Museum 1970(4); Landscape in Britain c.

Two damaged labels, now separately preserved, are inscribed with more or less irrelevant quotations from Leslie's Life about Constable's ‘Englefield House’ and ‘Stoke-by-Nayland’ compositions. 1750–1850, Tate Gallery 1973–4(223); Pittura inglese 1660/1840, Palazzo Reale, Milan 1975(137); Tate Gallery 1976(88).

The picture referred to seems very likely to be No.5, which shows the southern elevation.

Also dating from Constable's first visit is a small oil sketch of the Hall, grounds and stable-block from the north-west (Fig.2, Private Collection, h.71); the reverse was used on 13 October 1809 for a sketch of a man resting in a lane near East Bergholt (tg 1976 No.90, h.70).

A solution to this problem might seem to lie in identifying No.5 with the painting entitled ‘A landscape’ which Constable exhibited at the Royal Academy in 1810. III, 1810, p.367), this was ‘a fresh and spirited view of an enclosed fishpond’, a description which might just be applied to No.5. However, several objections stand in the way of this identification: 1. This is a copy by Constable, finished in 1811, of his original portrait of Lewis. However, the identification suggested in the catalogue of the exhibition Sketches & Drawings by John Constable from the Collection of Dr H.

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